DOCSLIB.ORG

Bio Information: LED BIB Title: SENSIBLE SHOES (Cuneiform Rune 283)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bio Information: LED BIB Title: SENSIBLE SHOES (Cuneiform Rune 283) Bio information: LED BIB Title: SENSIBLE SHOES (Cuneiform Rune 283) Cuneiform publicity/promotion dept.: 301-589-8894 / fax 301-589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American radio) www.cuneiformrecords.com FILE UNDER: JAZZ "We need bands like Led Bib to make the world safe for dangerous music." – Observer Music Monthly "Like crossing the road in a reverie and being run over by a passing bus - but in a pleasing way" – Evening Standard “Proof that groovy dirty jazz isn’t just the preserve of downtown New Yorkers” – BBC Radio 3 With a very loud blast of anarchic rock, a surge of euphoric jazz and an irrepressible burst of band laughter, the UK skronk-jazz-rock- punk-whatever quintet Led Bib release their fourth album on the USA label, Cuneiform. A tremendously popular act at home in the UK, where they regularly play large-scale festivals and concert halls (as well as playing the typical club gigs that all musicians play), Sensible Shoes is their first recording to be released outside of the UK. The record will be accompanied by a full UK and European tour throughout the spring and early summer of 2009. Now fun may not be a word you expect to hear in relation to jazz, but it’s the addition of this playfulness that has over years seen Led Bib throw out any preconceptions and play for audiences who don’t consider themselves jazz fans or would not even necessarily know that they like jazz in the least. And would one really expect anything different from a group that originally named itself Lead Bib – which it claimed stood for the shield that dentists use to cover the body and protect their patients when giving them oral x-rays. Because of pronunciation errors by the public, the band changed the name’s spelling to Led Bib – thus linking itself inadvertently to the most successful rock band of all time, Led Zeppelin. Fives years of friendship and playing together has seen the group of twenty-somethings, who all met at Middlesex University, move on from the shackles of their respective jazz music educations to a place where they embrace the risk of failure for the possibility of what could be. This has made their exciting live sets the stuff of gig-land legend. Led Bib is composed of Mark Holub (drums), Liran Donin (bass), Toby McLaren (Rhodes and piano) and fronted by two dueling alto sax players, Chris Williams and Pete Grogan. In true Bib style, Sensible Shoes is awash with unusual ideas. It takes in a deranged waltz (“Yes, Again”), Tom and Jerry chases and calypso cheek (“Squirrel Carnage”) to more sensitive traditional jazz structures (“Early Morning”). There’s a resurrection of British electric music pioneer Delia Derbyshire’s ghost (2.4:1 (“still equals none”), an ode and a lament to Hewlett Packard (“Call Centre Labyrinth”), a reflective, very English, John Surman-style ballad (“Water Shortage”) and an epic closing track penned by Williams about a life begun in Edmonton, North London (“Zone 4”). The record expresses the realities and dreams of life living in London, seen through the prism of the members' different cultural heritages from New Jersey to Israel to Edmonton. The musicians individual references peer out from the record through the likes of Metallica-like riffs, Northern Soul licks, New York Downtown-sound influenced improvisation and beyond. Says bandleader Holub: “It’s a coming of age album for us. It’s not overly intellectual or conceived. On the earlier records, we thought more about how each improvisation might go, but in this record we wanted to go into it really freely, like we do live. This record is our natural sound, embracing all our ideas and influences, with as little weight of tradition as possible.” Last year saw Led Bib play packed London and North Sea Jazz Festival shows, and an abundance of press superlatives were poured upon their limited edition live album. Across the globe, recognition grew, including all the way to the United States where Cuneiform Records (home to renegade jazz-and-beyond music from all over the globe, including The Claudia Quintet, Hugh Hopper, Soft Machine, Cosmologic, Brotherhood of Breath, Planeta Imaginario, Positive Catastrophe, Wadada Leo Smith, Curlew, Steve Lacy- Roswell Rudd, Gutbucket, the Microscopic Septet and much more...) knew their reputation, loved their work and happily signed them up for this release. The group’s new album, packed with more attacks of rock fury and improvising, is set to blow new minds and push further into uncharted territory. With a tour penciled into their calendars too, Jazzwise’s words have never been more pressing: “Alert your fire brigade now!” [press release & band bio by Led Bib 2009] ------------------------------------------------------------------------------------------------------------------------------------------------------------------------- For more information, please see: www.ledbib.com www.myspace.com/ledbib LED BIB BAND BIO: Led Bib was formed in 2003 by drummer/composer Mark Holub as part of his MA project at Middlesex University in North London. The group’s first show was on Feb. 24, 2004 (!Coincidentally? Holub’s birthday). After various line-up changes, December 2004 saw the formation of Led Bib’s final lineup: Holub (drums), Liran Donin (bass), Toby McClaren (Fender Rhodes and piano) and Chris Williams and Pete Grogan (alto sax). After a year of frequent gigging throughout London, in May 2005 the group released its first album, called Arboretum, on SLAM Productions, a British label run by George Haslam. The album, which contained original works as well as Erik Satie compositions, received widespread critical acclaim, bringing the band higher visibility and opening doors to gigs beyond London. Led Bib embarked on its first UK tour. The band went on to win the 2005 Peter Whittingham Jazz Award, an annual award for “cutting-edge jazz” given to a UK jazz group under age 26 “showing great talent and innovation in this field”; previous Whittingham winners included Soweto Kinch, Tom Arthurs and Mark Lockheart. The money from the award enabled Led Bib to set up the 2006 ‘Dalston Summer Stew’ festival at London’s Vortex Jazz Club, at which Led Bib played alongside such premiere UK contemporary jazz musicians as Matthew Bourne, Pinski Zoo and Iain Ballamy. It also enabled the band to begin recording a second CD. In 2006/2007, Led Bib signed to the British jazz label, Babel, and embarked on an intensive/extensive touring schedule in both the UK and, for the first time, Europe. When Babel released the band’s second album, Sizewell Tea, in May ’07, it rocketed the group into a new level of awareness. Like Arboretum, it featured originals and a ‘cover’ – this time, of David Bowie’s “Heroes”. A string of high profile concerts followed suit: Led Bib represented Britain at the 12 Points festival in Dublin, at which twelve leading contemporary jazz groups represented twelve different European Union countries. Other notable concerts including the reopening event for Royal Festival Hall, and a one hour live session on BBC Radio 3, followed by a flurry of shows at such leading venues as Queen Elizabeth Hall, Pizza Express Soho (Dean St.), North Sea Jazz Festival (July 2008), Wiesen Jazz Festival, and other festivals across Europe. Indeed, Led Bib have proven themselves to be formidable and indefatigable performers, performing at most of England’s major clubs and at numerous jazz festivals in both the UK and Europe, including the London Jazz Festival, Ether 08 Festival (London, May 2008), Coventry Jazz Festival (May 2008), and many more. In 2008, Led Bib self-released Led Bib Live, their third recording and only live release, as a limited edition EP. Despite not even being available in the shops, the live recording received widespread critical acclaim. Later in 2008, Led Bib signed to the US label, Cuneiform, to release its fourth recording. The following spring, Led Bib played at the FuseLeeds09 Festival, the Leeds, England festival devoted to bringing together the international vanguard of jazz, world, classical and popular music. Cuneiform released Led Bib’s 4th album, Sensible Shoes, in May 2009. Even before its official release date, the CD began to acquire impressingly positive reviews from the British jazz press, who had eagerly anticipated its release. In celebration of its new Cuneiform release, Led Bib will do an extensive UK tour. It also hopes to tour internationally. With its first CD released outside England, Led Bib is primed for wider exposure on the international stage of contemporary jazz. LED BIB TOUR SCHEDULE: SPRING/ SUMMER 2009 20 May 2009 Album Launch!!!!!! @ The Arts Theatre Club Soho, London, England 8 June 2009 Stereo, Glasgow, Scotland www.theorchestrapit.com www.theartstheatreclub.com www.stereocafebar.com 22 May 2009 Paradox Jazz Club Tilburg, The Netherlands 9 June 2009 The Mint Lounge, Manchester, England www.paradoxtilburg.nl www.mintlounge.com 23 May 2009 Bimhuis, Amsterdam, The Netherlands 10 June 2009 Cardiff Jazz Festival www.bimhuis.nl @ Dempsey's, Cardiff, Wales 4 June 2009 Norwich Arts Centre, Norwich, England www.myspace.com/dempseysjazz www.norwichartscentre.co.uk 11 June 2009 The Yardbird Birmingham, England 5 June 2009 Bath Fringe Festival, Bath, England www.myspace.com/theyardbirdbirmingham www.bathfringe.co.uk 12 June 2009 Taylor John’s House Coventry, England 6 June 2009 The Bluecoat Liverpool, England www.thetinangel.co.uk www.thebluecoat.org.uk 24 June 2009 The Vortex London, England 7 June 2009 The Jazz Bar, Edinburgh, Scotland www.vortexjazz.co.uk www.thejazzbar.co.uk ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------ PROMOTIONAL PHOTOS: (credit for all: Matt Crossick) DIGITAL [HIGH-RESOLUTION / COLOR] VERSIONS OF THESE IMAGES AND OTHERS ARE AVAILABLE FOR DOWNLOAD ON WWW.CUNEIFORMRECORDS.COM IN THE “PRESS” SECTION.
Load more

Recommended publications
  • This Is Our Music V.2-2
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by BCU Open Access 20/11/2015 16:38:00 This Is Our Music?: Tradition, community and musical identity in contemporary British jazz Mike Fletcher As we reach the middle of the second decade of the twenty-first century we are also drawing close to the centenary of jazz as a distinct genre of music. Of course, attempting to pinpoint an exact date would be a futile endeavour but nevertheless, what is clear is that jazz has evolved at a remarkable rate during its relatively short lifespan. This evolution, which encompassed many stylistic changes and innovations, was aided in no small part by the rapid technological advances of the twentieth century. Thus, what was initially a relatively localised music has been transformed into a truly global art form. Within a few short decades of the birth of the music, records, radio broadcasts and globe-trotting American jazz performers had already spread the music to a listening audience worldwide, and it was not long after this that musicians began to make attempts to ‘adapt jazz to the social circumstances and musical standards with which they were more familiar’.1 In the intervening decades, subsequent generations of indigenous musicians have formed national lineages that run parallel to those in America, and variations in cultural and social conditions have resulted in a diverse range of performance practices, all of which today fall under the broad heading of jazz. As a result, contemporary musicians and scholars alike are faced with increasing considerations of ownership and authenticity, ultimately being compelled to question whether the term jazz is still applicable to forms of music making that have grown so far away from their historical and geographic origins.
    [Show full text]
  • Air Artist Agency
    Air Artist Agency, in GERMANY & AUSTRIA MARCH 2011 Air Artist Agency, THE CONCEPT I was welcomed and In March 2011, six of Britain’s most exciting and forward-thinking bands will invited to England in be descending on Germany and Austria to perform 72 gigs over the period of two weeks. 12 clubs in 12 different cities will be running a ‘Brit-Jazz- the friendliest of ways. Week’ and hosting performances from a different one of the bands London is without each night. doubt Europe´s capital Between them, the bands have been recognised by the MOBO and for culture. There are MOJO Awards, Mercury Music Prize and just about every British Jazz a dozen great concerts Award available! They have all toured internationally but this is the to go to every day, all first time any of them will be presented in Germany and Austria in museums are free and such a big way. the local music scene is With influences as diverse as Indian music, Hip-Hop, Rap, Trip-Hop and vibrant, energetic and Rock, the bands involved are ex-Portishead Jazz-Rockers Get The Blessing, imaginative with a great saxophonist Jason Yarde, Indo-Jazz Clarinettist Arun Ghosh, pianist Kit Downes, mixture of artists from The Julian Siegel Quartet and rapper-saxophonist Soweto Kinch. all sorts of backgrounds; We are organising full German/Austrian press coverage for the event and one of a true melting pot of the main aims of the project is to launch each of the bands in this territory and build the foundations for regular touring in Germany and Austria.
    [Show full text]
  • ROBERT WYATT Title: ‘68 (Cuneiform Rune 375) Format: CD / LP / DIGITAL
    Bio information: ROBERT WYATT Title: ‘68 (Cuneiform Rune 375) Format: CD / LP / DIGITAL Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American & world radio) www.cuneiformrecords.com FILE UNDER: ROCK “…the [Jim Hendrix] Experience let me know there was a spare bed in the house they were renting, and I could stay there with them– a spontaneous offer accepted with gratitude. They’d just hired it for a couple of months… …My goal was to make the music I’d actually like to listen to. … …I was clearly imagining life without a band at all, imagining a music I could make alone, like the painter I always wanted to be.” – Robert Wyatt, 2012 Some have called this - the complete set of Robert Wyatt's solo recordings made in the US in late 1968 - the ultimate Holy Grail. Half of the material here is not only previously unreleased - it had never been heard, even by the most dedicated collectors of Wyatt rarities. Until reappearing, seemingly out of nowhere, last year, the demo for “Rivmic Melodies”, an extended sequence of song fragments destined to form the first side of the second album by Soft Machine (the band Wyatt had helped form in 1966 as drummer and lead vocalist, and with whom he had recorded an as-yet unreleased debut album in New York the previous spring), was presumed lost forever. As for the shorter song discovered on the same acetate, “Chelsa”, it wasn't even known to exist! This music was conceived by Wyatt while off the road during and after Soft Machine's second tour of the US with the Jimi Hendrix Experience, first in New York City during the summer of 1968, then in the fall of that year while staying at the Experience's rented house in California, where he was granted free access to the TTG recording facility during studio downtime.
    [Show full text]
  • 22Nd International Congress on Acoustics ICA 2016
    Page intentionaly left blank 22nd International Congress on Acoustics ICA 2016 PROCEEDINGS Editors: Federico Miyara Ernesto Accolti Vivian Pasch Nilda Vechiatti X Congreso Iberoamericano de Acústica XIV Congreso Argentino de Acústica XXVI Encontro da Sociedade Brasileira de Acústica 22nd International Congress on Acoustics ICA 2016 : Proceedings / Federico Miyara ... [et al.] ; compilado por Federico Miyara ; Ernesto Accolti. - 1a ed . - Gonnet : Asociación de Acústicos Argentinos, 2016. Libro digital, PDF Archivo Digital: descarga y online ISBN 978-987-24713-6-1 1. Acústica. 2. Acústica Arquitectónica. 3. Electroacústica. I. Miyara, Federico II. Miyara, Federico, comp. III. Accolti, Ernesto, comp. CDD 690.22 ISBN 978-987-24713-6-1 © Asociación de Acústicos Argentinos Hecho el depósito que marca la ley 11.723 Disclaimer: The material, information, results, opinions, and/or views in this publication, as well as the claim for authorship and originality, are the sole responsibility of the respective author(s) of each paper, not the International Commission for Acoustics, the Federación Iberoamaricana de Acústica, the Asociación de Acústicos Argentinos or any of their employees, members, authorities, or editors. Except for the cases in which it is expressly stated, the papers have not been subject to peer review. The editors have attempted to accomplish a uniform presentation for all papers and the authors have been given the opportunity to correct detected formatting non-compliances Hecho en Argentina Made in Argentina Asociación de Acústicos Argentinos, AdAA Camino Centenario y 5006, Gonnet, Buenos Aires, Argentina http://www.adaa.org.ar Proceedings of the 22th International Congress on Acoustics ICA 2016 5-9 September 2016 Catholic University of Argentina, Buenos Aires, Argentina ICA 2016 has been organised by the Ibero-american Federation of Acoustics (FIA) and the Argentinian Acousticians Association (AdAA) on behalf of the International Commission for Acoustics.
    [Show full text]
  • Gruppo È Nella Classica Formazione in Quartetto Con Elton Dean, Mike Ratledge, Hugh Hopper E Robert Wyatt
    Page 3 of 9 gruppo è nella classica formazione in quartetto con Elton Dean, Mike Ratledge, Hugh Hopper e Robert Wyatt. Era un periodo di tensioni e di riflessioni. Elton Dean cercava di tirare i compagni sempre più verso il jazz e l'avanguardia. Robert Wyatt non voleva abbandonare gli scenari del rock dadaista. Gli altri due partner erano un po' indecisi. I due concerti che si erano tenuti in Olanda nei giorni immediatamente precedenti non erano andati troppo bene, poco pubblico, troppo nervosismo. Ma la magia del pubblico appassionato di Amsterdam riesce a far decollare la macchina morbida. I temi sono affrontati in maniera un po' aspra, secca, senza compiacimenti, ma l'incantesimo riesce per l'ennesima volta e il concerto si sviluppa con intensità, foga e determinazione. Curiosamente Wyatt non è mai impegnato alla voce e il gruppo si esibisce solo sul versante strumentale. Ci sono temi ancora in fase embrionale, come le splendide “Teeth” e “Virtually” che poi verranno presentate nell'album Fourth che i Soft Machine stavano registrando in quei mesi e che verrà completato poche settimane dopo questo mini tour olandese. Con l'album Floating World Live ci spostiamo ad una versione successiva dei Soft Machine. L'album, pubblicato da Moonjune Records, ci propone una registrazione dal vivo effettuata nel gennaio 1975 dalla ormai mitica Radio Bremen, certamente una delle emittenti che più hanno contribuito a mantenere viva un'epoca ormai lontana grazie alle preziose documentazioni dei concerti da loro coraggiosamente organizzati. La band è agli inizi di una nuova fase e l'arrivo di Allan Holdsworth alla chitarra elettrica diventa l'occasione per ristrutturare completamente il repertorio del gruppo.
    [Show full text]
  • 'Pardon Me, I'm Very Drunk': Alcohol, Creativity and Performance Anxiety
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Middlesex University Research Repository ‘Pardon me, I’m very drunk’: alcohol, creativity and performance anxiety in the case of Robert Wyatt Marcus O’Dair School of Media & Performing Arts Room TG53, Town Hall Annexe Middlesex University The Burroughs Hendon London NW4 4BT 0208 411 3717 m.o’[email protected] Abstract Robert Wyatt’s relationship with alcohol is multifaceted. He acknowledges its deleterious effect on aspects of his personal life, most notably on his relationship with wife and creative partner Alfreda Benge, and he has been teetotal since attending Alcoholics Anonymous in 2007-8. In professional terms, however, Wyatt continues to view alcohol positively: as a means to overcome anxiety as a performer and recording artist and as an aid to writing. From this perspective, the fact that Wyatt has not released a solo album since sobering up may be more than mere coincidence. This paper aims to answer two questions. Firstly, what is the evidence that alcohol can reduce anxiety for a performer and recording artist, and increase creativity for a songwriter? Secondly, what is the evidence that this is so in Wyatt’s specific case? In answering these questions, I will draw on secondary research, as well as interviews I conducted with Wyatt and various associated musicians and family members between 2008 and 2013. Introduction Born in 1945, Robert Wyatt came to prominence in the 1960s as drummer and vocalist with Soft Machine – contemporaries of Syd Barrett-era Pink Floyd who toured America with the Jimi Hendrix Experience and became the first rock act to perform at the BBC Proms in London.
    [Show full text]
  • Phil Sumpter Dir
    Contact: Phil Sumpter Dir. of Marketing & Communications 215.925.9914 ext. 15 FOR IMMEDIATE RELEASE: April 16, 2011 UK’S SOWETO KINCH TOURS US/DEBUTS PHILLY WITH LATEST BEBOP- HIP-HOP HYBRID; SHOW SERVES AS BRIDE’S SEASON FINALE Philadelphia, PA – Painted Bride Art Center presents award-winning British-based saxophonist and MC Soweto Kinch and his latest bebop/ hip-hop hybrid release The New Emancipation. Soweto leads his quartet to the Bride’s stage to perform on Saturday, June 11 at 8pm serving as the venue’s 2011 season finale. WRTI’s J. Michael Harrison, host to the cutting- edge jazz program The Bridge, joins the Bride’s for this special presentation. “Soweto Kinch raps like a champion and plays like a dream.” – London Evening Standard Birmingham-raised, Oxford-educated saxophonist and rapper Soweto Kinch is considered the most exciting and versatile young musicians in both the British jazz and hip hop scenes. This is because of his bar none ability to weave together such diverse influences as Charlie Parker, Madlib, Ornette Coleman, Stevie Wonder and Duke Ellington with high energy and polished style. His impressive list of accolades and awards includes a Mercury Music Prize nomination, two UMA Awards, and two MOBO Awards for best Jazz Act. At the O2 Arena, London he was announced as the winner in the Best Jazz Act category- fending off stiff competition from the likes of Wynton Marsalis. His skills as a hip hop MC and producer are highly respected by the likes of KRS ONE, Dwele and TY, and he is being championed by the likes of Mos Def, Rodney P and BBC 1-Xtra’s Twin B.
    [Show full text]
  • Chick Willis Uk £3.25
    ISSUE 163 WINTER 2020 CHICK WILLIS UK £3.25 Photo by Merlin Daleman CONTENTS Photo by CHRISTMAS STOCKING FILLERS Merlin Daleman CHICK WILLIS pictured at the Birmingham Jazz Festival. Chick makes an appearance in a new feature for Jazz BIG BEAR RECORDS CD OFFER Rag. We link up with Henry’s Blueshouse in Birmingham to EXCLUSIVELY FOR READERS OF THE JAZZ RAG present Henry’s Bluesletter (pages 32-33) ALL CDS £8 EACH OR THREE FOR £16 INCLUDING P&P 4 FESTIVAL IN TIME OF PLAGUE Birmingham, Sandwell and Westside Jazz Festival goes ahead 5 THE VIRUS IN NUMBERS JAZZ CITY UK VOLUME 2: THE JAM SESSIONS 6 ‘A TRUE NEW ORLEANS CHARACTER’ Coroner/trumpeter Frank Minyard Howard McCrary Various Artists Various Artists Lady Sings Potato Head 7 I GET A KICK OUT OF… Moments Like This Jazz City UK Volume 2 Jazz City UK Volume 1 The Blues Jazz Band Promoter John Billett Laughing at Life Stompin’ Around 8 COMPETITION: LOUIS ARMSTRONG 9 GOODBYE TO A STAR Roger Cotterrell on Peter King 11 BBC YOUNG JAZZ MUSICIAN OF THE YEAR 12 SUPERBLY SWINGING Alan Barnes remembers Dick Morrissey Remi Harris Trio Tipitina King Pleasure & Nomy Rosenberg Django’s Castle 14 FRENCH BOOGIE STAR Ninick Taking Care of The Biscuit Boys Nomy Rosenberg Trio with Bruce Adams Ron Simpson profiles Ben Toury Business Live At Last Swing Hotel du Vin 16 50 BY LOUIS Scott Yanow’s choice FIND US ON FACEBOOK 18 ROY WILLIAMS IN PICS The Jazz Rag now has its own Facebook page. For news of upcoming festivals, gigs and releases, 20 REFLECTING DREAMS Marilyn Mazur interviewed by Ron Simpson features from the archives, competitions and who knows what else, be sure to ‘like’ us.
    [Show full text]
  • EFG London Jazz Festival at the Barbican Friday 15 – Sunday 24 November 2019
    11 October 2019 EFG London Jazz Festival at the Barbican Friday 15 – Sunday 24 November 2019 Featured artists across the festival at the Barbican include: Nik Bärtsch, Sophie Clements, Cécile McLorin Salvant, Sullivan Fortner, The McCormack & Yarde Duo, Herbie Hancock, Iggy Pop, Eliane Elias, Vinícius Cantuária, The Art Ensemble of Chicago, Junius Paul, Dudu Kouate, Abel Selaocoe, Michael Wollny, Wolfgang Heisig, Emile Parisien, Leafcutter John, Max Stadtfeld, Dawn of Midi, Daniel Brandt, O-Janà, Hobby Horse, Tomorrow’s Warriors, LUME and Bitches Brew The annual EFG London Jazz Festival – produced by Barbican Associate Producer Serious – comprises hundreds of concerts and gigs across London, celebrating the ever-influential body of work of jazz giants and their ongoing legacies and giving profile to the fresh voices of the scene. As one of the festival’s major venues, the Barbican presents a cross-section of concerts alongside a programme of film screenings and FreeStage events. Highlights of the EFG London Jazz Festival 2019 at the Barbican include: • Pianist and composer Nik Bärtsch and visual artist Sophie Clements present the UK premiere of their striking new collaborative audio-visual performance When The Clouds Clear, a meditation on elemental forces and cycles, featuring amplified solo piano, sculpture, film and installation design (Fri 15 Nov) • Legendary American jazz pianist Herbie Hancock makes two festival appearances alongside his band – in a solo show (Sun 17 Nov) and in a collaborative performance together with the Los Angeles
    [Show full text]
  • Music Is GREAT Edition 4.1, November 2016
    A guide Brought to you by for international media Edition 4.1 – November 2016 Festival No 6 Portmeirion, Wales visitbritain.com/media Contents Quick facts about music in Britain ........................................................................................................ 2 Music is Great – why? ............................................................................................................................... 3 10 must-do music activities in Britain ................................................................................................... 4 Music venues in Britain – a guide .......................................................................................................... 6 Music venues by music genre................................................................................................................ 14 British music through the decades ...................................................................................................... 17 You saw them here first ......................................................................................................................... 19 Lyrical Britain: let the music be your guide ...................................................................................... 22 Step into British album covers ............................................................................................................. 26 Immersive music experiences ............................ …………………………………………………………………….…29 Musical milestones coming up in 2017……………………………………………………………………………………32
    [Show full text]
  • Cuneiform Artist News, Tours & Websites Winter 2010
    CUNEIFORM ARTIST NEWS, TOURS & WEBSITES WINTER 2010 ARTIST NEWS: Ahleuchatistas: -Shane Perlowin, guitarist from Ahleuchatistas, has released his debut solo album, "The Vacancy in Every Verse", on his own label Open Letter Records (see www.shaneperlowin.com & www.openletterrecords.com). -Longtime bassist Derek Poteat retired from Ahleuchatistas in November 2009, and has been replaced by master bassist, and longtime Perlowin collaborator, Joseph Burkett. -The band has an Eastcoast tour in February, with a date at the Stone in NYC on Feb 17th. -And starting March 31 through most of April they will tour in Italy, Austria, Czech Republic, Slovenia, and Slovakia. They are currently looking for a few dates to close out the tour in Germany. -Ahleuchatistas is currently composing their most exciting and ambitious album to date, to be titled "Heraclitean"... release date unknown! Beat Circus Boy From Black Mountain has been receiving excellent reviews across the board. The album won the 9th Annual Independent Music Award for Alt/Country Album of the Year. The Boston Phoenix gives the album 3.5/4 stars, raving "Boy From Black Mounain is the prettiest darn dark Americana record in recent memory." PopMatters gave the album 9/10 stars, added it to their Slipped Discs of 1009, writing "For anyone still awed by Neutral Milk Hotel's In The Aeroplane Over the Sea, Boy From Black Mountain was an album that promised a similar journey through innocent speculation and otherworldly magic. Beat Circus has provided one of the highs of the year." And the Boston Herald ranked Boy From Black Mountain in their top 10 of 2009.
    [Show full text]
  • The Heritage of Slavery in British Jazz Festivals
    International Journal of Heritage Studies ISSN: 1352-7258 (Print) 1470-3610 (Online) Journal homepage: http://www.tandfonline.com/loi/rjhs20 The heritage of slavery in British jazz festivals George McKay To cite this article: George McKay (2018): The heritage of slavery in British jazz festivals, International Journal of Heritage Studies, DOI: 10.1080/13527258.2018.1544165 To link to this article: https://doi.org/10.1080/13527258.2018.1544165 Published online: 08 Nov 2018. Submit your article to this journal View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rjhs20 INTERNATIONAL JOURNAL OF HERITAGE STUDIES https://doi.org/10.1080/13527258.2018.1544165 The heritage of slavery in British jazz festivals George McKay School of Art, Media and American Studies, University of East Anglia, Norwich, UK ABSTRACT ARTICLE HISTORY This article explores site-specific heritage questions of the contemporary Received 23 July 2018 cultural practice of festivals of jazz – a key transatlantic music form – by Accepted 31 October 2018 bringing together three areas for discussion and development: questions of KEYWORDS slavery heritage and legacy; the location, built environment and (touristic) Transatlantic slave trade; offer of the historic city; and the contemporary British jazz festival, its pro- slavery; jazz; festival; music; gramme and the senses or silences of (historical) situatedness in the festival Britain; decolonisation package. Other artistic forms, cultural practices and festivals are involved in self-reflexive efforts to confront their own pasts; such are discussed as varying processes of the decolonisation of knowledge and culture. This provides the critical and cultural context for consideration of the jazz festival in the Georgian urban centre.
    [Show full text]